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1 |  |  The free jazz performer who is able to blend the two musical worlds (jazz and classic) is |
|  | A) | John Coltrane |
|  | B) | Cecil Taylor |
|  | C) | Ornette Coleman |
|  | D) | Anthony Braxton |
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2 |  |  In the 1960’s, which city reprised its role as the geographical center of a style of jazz? |
|  | A) | New York |
|  | B) | New Orleans |
|  | C) | Chicago |
|  | D) | Kansas City |
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3 |  |  As in jazz of other eras, which element remains important in free form jazz? |
|  | A) | rhythm |
|  | B) | harmony |
|  | C) | improvisation |
|  | D) | melody |
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4 |  |  Who were two of the earliest jazz artists to attempt to avoid the constraints of the bar lines and move toward a more free-flowing rhythm? |
|  | A) | Charlie Parker and Dizzy Gillespie |
|  | B) | Miles Davis and Cannonball Adderley |
|  | C) | Stan Kenton and Woody Herman |
|  | D) | Lester Young and Gerry Mulligan |
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5 |  |  The free jazz musician who believes that “You can play sharp in tune and flat in tune” is |
|  | A) | John Coltrane |
|  | B) | Gerry Mulligan |
|  | C) | Ornette Coleman |
|  | D) | Cecil Taylor |
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6 |  |  The free jazz artist whose concerts are known for difficult to follow, long, uninterrupted, intense, improvisational composition is |
|  | A) | Ornette Coleman |
|  | B) | Cecil Taylor |
|  | C) | Carla Bley |
|  | D) | Sun Ra |
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7 |  |  Who is the musician whose control and co-ordination of his outstanding technique was often referred to as “sheets and sound”? |
|  | A) | Ornette Coleman |
|  | B) | Cannonball Adderley |
|  | C) | John Coltrane |
|  | D) | Pharaoh Sanders |
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8 |  |  Music that is seemingly without meter and lacks a definite beat is called |
|  | A) | contrapuntal |
|  | B) | arrhythmic |
|  | C) | isometric |
|  | D) | contradanse |
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9 |  |  Among the compositional and performances practices of the Art Ensemble of Chicago are |
|  | A) | an emphasis on collective interaction |
|  | B) | a suspension of fixed rhythmic support (no drums) |
|  | C) | a wide range of tone colors |
|  | D) | all of the above |
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10 |  |  Music based on random relationships is known as |
|  | A) | contrapuntal music |
|  | B) | arrhythmic music |
|  | C) | chance music |
|  | D) | polyphonic music |
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11 |  |  Music that seeks to avoid the chord and melodic relationships normally associated with the major-minor system is called |
|  | A) | arrhythmic music |
|  | B) | atonal music |
|  | C) | aeolian music |
|  | D) | chance music |
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12 |  |  Free form, though slow to become accepted, is now the mainstream style of jazz. |
|  | A) | true |
|  | B) | false |
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13 |  |  The free form artist honored by a Guggenheim Foundation grant was |
|  | A) | Cecil Taylor |
|  | B) | Sun Ra |
|  | C) | Ornette Coleman |
|  | D) | Greg Orsby |
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14 |  |  Although collective improvisation is one of the hallmarks of free jazz, it is also a landmark of |
|  | A) | swing |
|  | B) | stride |
|  | C) | bebop |
|  | D) | dixieland |
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15 |  |  Interaction between the performers and between the audience and the performers is an important element in the free “improvisation” of free form, avant-garde jazz. |
|  | A) | true |
|  | B) | false |
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